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The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies.
└ from 01 — Pushing Scores Overview


Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem.
└ from 01 — Pushing Scores Overview


Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records.
└ from 01 — Pushing Scores Overview


So far Evelin Brosi, AMVK and JODI will show up to get informed about matters of relevance and will then start to produce their floppy work for the collection from there.
└ from 01 — Pushing Scores Overview


Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances.
└ from 01 — Pushing Scores Overview


Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture.
└ from 01 — Pushing Scores Overview


Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation.
└ from 01 — Pushing Scores Overview


Our ambition, and that of our collaborating partners, is to emancipate graphic notation from the confines of the modernist tradition, in such a way that it may remain an innovative and provocative medium for decades to come.
└ from 01 — Pushing Scores Overview


Aside from this, the magazine is also comprised of a floppy drive, speakers, an audio input, a camera, touchpads and an LED light.
└ from 02 — Release - Tetra Gamma Circulaire 3


The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies.
└ from 04 — Noting Denoting


Next to this there will also be graphic works by students from the Graphic Design Department of ArtEZ University of the Arts, Arnhem.
└ from 04 — Noting Denoting


FLORIS VANHOOF (BE) Floris Vanhoof is a filmmaker and musician from Belgium.
└ from 04 — Noting Denoting


These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them.
└ from 05 — Wiels Artbook Fair


Principium' comes from the title of a project by Vaast Colson.
└ from 06 — Principium 2.0 Publication


Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated.
└ from 06 — Principium 2.0 Publication


At least, that's where the initial form and the name came from.
└ from 06 — Principium 2.0 Publication


And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all.
└ from 06 — Principium 2.0 Publication


But having made that 12" vinyl version, and having done a performance that worked quite well, I didn’t mind starting from what is essentially the documentation of a past event.
└ from 06 — Principium 2.0 Publication


Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?
└ from 06 — Principium 2.0 Publication


But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets.
└ from 06 — Principium 2.0 Publication


You know, the music on the record came from a performance I did, based on a concept I came up with.
└ from 06 — Principium 2.0 Publication


He always stressed, right from the start, that any interpretation I gave of his work was no longer his work.
└ from 06 — Principium 2.0 Publication


It can free you from repeating yourself, from your own mannerisms.
└ from 06 — Principium 2.0 Publication


I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.
└ from 06 — Principium 2.0 Publication


Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records.
└ from 07 — Pu-sh-ing-Sco-res Event


Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation.
└ from 07 — Pu-sh-ing-Sco-res Event


Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War.
└ from 07 — Pu-sh-ing-Sco-res Event


Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.
└ from 07 — Pu-sh-ing-Sco-res Event


They did a reading on the concepts and necessity of the project, as well as all the implications resulting from its development and production.
└ from 07 — Pu-sh-ing-Sco-res Event


Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music.
└ from 07 — Pu-sh-ing-Sco-res Event


In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity.
└ from 07 — Pu-sh-ing-Sco-res Event


The outcomes ranged from installations to be played by the public to plastic works in which the plate was transformed, mutated.
└ from 07 — Pu-sh-ing-Sco-res Event


Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling.
└ from 09 — MAT>NET>PU TGC3 Presentation


However, it was decided to start from the floppy disc as a medium.
└ from 09 — MAT>NET>PU TGC3 Presentation


The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art.
└ from 10 — Valentina Vuksic


The well-known 'Do-Re-Mi' and the solfège, a teaching method in music for learning pitch and the singing of sheet music, was developed from this.
└ from 11 — Para-phonic Poly-disco


With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here.
└ from 12 — Jacques Attali


Jacques Attali (born 1 Nov 1943) is a French economic and social theorist, writer, political adviser and senior civil servant, who served as a counsellor to President François Mitterrand from 1981 to 1991 and was the first head of the European Bank for Reconstruction and Development from 1991 to 1993.
└ from 12 — Jacques Attali


We had common interests, but at the same time approached the topic from different angles given our differing networks of practice and our outputs as a stage, publisher and designer.
└ from 13 — Remco van Bladel


He also engaged with work from Stockhausen and Cage, working comparatively to assess differences and find similarities.
└ from 13 — Remco van Bladel


The most important, from his youth, is sound or music.
└ from 13 — Remco van Bladel


This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project.
└ from 14 — Derek Holzer


Over the past few years there has been a strong response to the sterile world of sound and video from the laptop.
└ from 14 — Derek Holzer


Over the past few years there has been a strong response to the sterile world of sound and video from the laptop.
└ from 15 — Schematic as Design


John Cage once quipped that Serge Tcherepnin's synthesizer system was 'the best musical composition that Serge had ever made', and it is precisely Cage's reformulation of the concert score from a list of deterministic note values to a set of indeterminable possibilities that allowed the blurring of lines between instrument-builder and music composer that followed.
└ from 15 — Schematic as Design


He did a reading of his text 'Schematic as a Score' alongside a live concert derived from his research on analogue visuals with the oscilloscope.
└ from 16 — Tektronix Oscilloscope Music


Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War.
└ from 16 — Tektronix Oscilloscope Music


Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade.
└ from 16 — Tektronix Oscilloscope Music


Rather, it is an exploration of a once-current and now discarded technology linked with specific utopias and dystopias from another time.
└ from 16 — Tektronix Oscilloscope Music


Therefore, an investigation into 'tried-and-failed' methods from the past casts our current attempts and struggles in a new kind of light.
└ from 16 — Tektronix Oscilloscope Music


He was a key member of, and influence on, Fluxus, the international group of avant-garde artists centred on George Maciunas, having been involved with the group from the first performances in Wiesbaden 1962 until Maciunas' death in 1978.
└ from 17 — Event Scores


I brought Steve Joy to St. Vincent College when I returned to the monastery from Paris in 1963.
└ from 17 — Event Scores


It is the first intermediary after the score itself and comes from a method of conducting called 'cheironmy'.
└ from 18 — Dirigeerstok


The packaging of each record is also linked to the unique file and consists of an original visual work that is derived from or transformed via a formula from the programming language that underlies the audio poems present on the record.
└ from 19 — Jörg Piringer


Fersteinn plays from animations made as compositions on a laptop.
└ from 21 — Animated Notation


For another work he commissioned composers from low-wage countries to plagiarise his own music for a commission for the Festival Klangwerkstatt in Berlin.
└ from 24 — Johannes Kreidler


This makes it particularly interesting when viewed from the perspective of experimentation and unorthodox composing.
└ from 24 — Johannes Kreidler


Ana Guedes is a multidisciplinary artist from Portugal who lives and works in the Hague.
└ from 25 — Ana Guedes


An ensemble of Arduino-powered prepared record players is built as an instrumentation to play an intimate selection from a family archive of popular music, 'A set of records carefully shipped home from a country at war forty years ago.
└ from 25 — Ana Guedes


The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents.
└ from 25 — Ana Guedes


She passes on the notation she distils from this to music companies in order to come to performances.
└ from 26 — Helga Jakobson


However, my favourite spider myth is from Greek mythology; that of Arachne, who wove a tapestry better than Athena, the Goddess of weaving and war.
└ from 26 — Helga Jakobson


Sometimes recordings from four years ago are combined with more recent recordings.
└ from 27 — BJ Nilsen


Thus, different layers of time are presented, from slowly unfolding sounds that represent a deep geological time, to sounds of transport, to the kind of sounds that we recognise as science fiction to indicate the future.
└ from 27 — BJ Nilsen


For example, mining is in the arctic zone, and an asteroid mining law was adopted in Luxembourg in 2017 that gives companies ownership of what they extract from celestial bodies.
└ from 27 — BJ Nilsen


For example, in the composition radio broadcasts from space are used as well as a recoding of the probe that has ended up on an asteroid.
└ from 27 — BJ Nilsen


In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener.
└ from 27 — BJ Nilsen


Ore 'In ore different layers of time are overlapping, from the deep time of geology to the superfast time of our current economy and the future.
└ from 27 — BJ Nilsen


For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working.
└ from 27 — BJ Nilsen


I used recordings from Pasvik, south of Kirkenes, where the rock is at least 2.9 billion years old.
└ from 27 — BJ Nilsen


There are recordings from the harbour of Murmansk with the coal trains coming in from Kuzbass in southwestern Siberia.
└ from 27 — BJ Nilsen


The next phase in the processing of iron is represented by recordings from inside the Tata Steel factories in Wijk aan Zee, 30 kilometers from Amsterdam.
└ from 27 — BJ Nilsen


I think it is important to explore the changes that the surrounding landscape and the mining site itself are undergoing, from active to closed, from contaminated landscape to re-vegetation.
└ from 27 — BJ Nilsen


The future is represented through using radio emissions from space and a recoding from the probe that landed on the comet 67P/Churyumov–Gerasimenko.
└ from 27 — BJ Nilsen


Source: http://www.newcriticals.com/deep-mining-deep-time/page-3 Mineral commodities used in mobile devices: Gallium (from bauxite), Germanium (from sphalerite) Graphite Indium (from sphalerite) Lithium (from amblygonite, petalite, lepidolite and spodumene) Platinum Potassium (from langbeinite, sylvite and sylvinite) Rare-earth elements (like bastnäsite, loparite, monazite and xenotime) Sand Silicon (from quartz) Silver (from argentite and tetrahedrite) Tantalum (from columbite and tantalite) Tin (from cassiterite) Tungsten (from scheelite and wolframite) Source: https://pubs.usgs.gov/gip/0167/gip167.pdf Chemical structure of the products of Sydvaranger mine, Kirkenes: Fe – 68% SiO2 – 5.00 Al2O3 – 0.30 S – 0.08 P – 0.01 Mn – 0.05 Na2O – 0.01 K2O – 0.03 CaO – 0.35 MgO – 0.45 H2O – 8.00 Size of the product: Over 0.15mm – less than 0.2% 0.053mm–0.15mm – less than 20% Under 0.053mm – up to 80% Source: http://sydvarangergruve.no/produkt 'In mining there are two types of waste.
└ from 27 — BJ Nilsen


In that way I present different layers of time, from slowly unfolding sounds that represent deep geological time, to sounds of transport, to the sort of sounds we recognise as science fiction to denote the future.
└ from 27 — BJ Nilsen


The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone.
└ from 27 — BJ Nilsen


Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018.
└ from 27 — BJ Nilsen


Interview with Ylva Ståhl and Kristoffer Johansson from the Sydvaranger mine in Kirkenes, by Benny Nilsen, Hilde Methi and Annette Wolfsberger, conducted in March 2018.
└ from 27 — BJ Nilsen


Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days.
└ from 28 — John Duncan


In the mid-1980s Duncan began pirate radio and television broadcasting with his own custom-built portable channels, operating illegally from the roofs of apartment buildings in central Tokyo and from an abandoned American military hospital near Sagamihara.
└ from 28 — John Duncan


He also made periodic broadcasts from his own home.
└ from 28 — John Duncan


The UNI was developed by Niek Hilkmann and Joseph Knierzinger, and it is a machine into which a coin is inserted and from which a printed score is then delivered.
└ from 29 — Niek Hilkmann


DE PLAYER has always had a strong interest in emancipating publishing from its stereotypical understanding as merely making things public – an understanding that comes from an historical and economic media constraint linked to the print, software, music and film industries, and that has limited any form of meaningful, explorative, complementary or conflictual combinations between media in the field of cultural production.
└ from 30 — Black Midi


Owen Was Her?’, an extra boss theme from the Touhou Project shooter video game 'The Embodiment of Scarlet Devil’.
└ from 30 — Black Midi


It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years.
└ from 30 — Black Midi


Shortly thereafter, blackers from around the world began pushing limits of the style by making compositions with notes increasing into the millions and using an enormous number of colours and patterns to match the complexity of the notes.
└ from 30 — Black Midi


The first of these tracks to reach the million-note mark was that of 'Necrofantasia' from the Touhou Project video game 'Perfect Cherry Blossom', arranged by TheTrustedComputer.
└ from 30 — Black Midi


The term 'black MIDI' is derived from how there are so many notes in each piece that the score would look nearly black (or would look really black) when transposed to the form of traditional sheet music.
└ from 30 — Black Midi


According to California-based blacker TheTrustedComputer, black MIDI was intended as more of a remix style than an actual genre, and derived from the idea of 'bullet hell' shoot 'em up games, which involved 'so many bullets at a time your eyes can't keep up.
└ from 30 — Black Midi


Black MIDI first received coverage by Michael Connor, a writer for the non-profit arts organisation Rhizome, in September 2013, leading to attention from publications and bloggers including 'Aux', 'Gawker's Adrian Chen', 'Jason Kottke' and 'The Verge'.
└ from 30 — Black Midi


It has garnered acclaim from journalists, bloggers and electronic musicians, with many noting it as a distinctive and engaging genre thanks to how regular piano notes are combined to make new, abstract sounds not heard in many styles of music, as well as the visuals representing the notes.
└ from 30 — Black Midi


Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands.
└ from 31 — Marco Fusinato


Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken.
└ from 31 — Marco Fusinato


He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00.
└ from 31 — Marco Fusinato


Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point.
└ from 31 — Marco Fusinato


This is the energy of implosion, which always infers at least the potential of its counter-energy in explosive energy radiating out from the single point of origin.
└ from 31 — Marco Fusinato


a b o u t t h i s a r c h i v e
l i s t o f i t e m s
G e n e r a t e s c o r e !