[x] had ▶

Sentences that have had in common :


Each student had to develop their own project around the process of making a score.
└ from 02 — Release - Tetra Gamma Circulaire 3


All these scores then had to come together in one magazine/object.
└ from 02 — Release - Tetra Gamma Circulaire 3


One restriction was decided upon: The scores had to be presented on floppy disc.
└ from 02 — Release - Tetra Gamma Circulaire 3


I already knew the work of Charlemagne and we had also met during earlier events, so it was instantly clear that we could do something together that would make sense for the exhibition and ourselves.
└ from 04 — Noting Denoting


We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us.
└ from 05 — Wiels Artbook Fair


For it, Kris Delacourt (Remörk) had made a modified Casio keyboard as a reinterpretation of Vaast Colson's work 'Principium'.
└ from 06 — Principium 2.0 Publication


Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not.
└ from 06 — Principium 2.0 Publication


Meanwhile, I had been toying around with leftover magnets and magnetic sensors, sticking magnets to a metal turntable platter and using the sensors to switch audio on and off, sort of like a programmable tremolo.
└ from 06 — Principium 2.0 Publication


Vaast and Dennis Tyfus of Ultra Eczema run a space in Antwerp together called Stadslimiet, and that's where we had the record presentation.
└ from 06 — Principium 2.0 Publication


The only thing I had any control over was where to put the magnets, which determines the rhythm.
└ from 06 — Principium 2.0 Publication


The thing is, each of the eight hours had the turntables spinning at 33rpm, so the basic underlying tempo never changes.
└ from 06 — Principium 2.0 Publication


If something was interesting for a while, but didn't stay interesting, it had to go.
└ from 06 — Principium 2.0 Publication


And the same goes for this record on Ultra Eczema: I have to say I'm really happy we finally got an Ultra Eczema release together, it's something Dennis had been asking for for quite some time... He’d actually given up asking.
└ from 06 — Principium 2.0 Publication


But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right.
└ from 06 — Principium 2.0 Publication


Resonanz' is an electronic book that I had first dismissed.
└ from 07 — Pu-sh-ing-Sco-res Event


All had worked with the medium of the vinyl record and added a new use/application.
└ from 07 — Pu-sh-ing-Sco-res Event


The invitation was perfectly suited for a project in public space that he had in mind for 'Pushing Scores'.
└ from 11 — Para-phonic Poly-disco


We knew that Remco had written an essay called 'Musical Theories in Graphic Design' – on the subject of graphic notation within a broader field of theory formation in contemporary music – and felt it would be a good match to work together on a research project about the graphic score.
└ from 13 — Remco van Bladel


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


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


They had been performing before we started the 'Pushing Scores' project, yet we nevertheless claim their work to be part of it.
└ from 21 — Animated Notation


For much less money than Kreidler himself received as a commission, he had pieces ready for concert that were made for him in China and India.
└ from 24 — Johannes Kreidler


During the competition, Athena wove a tapestry depicting all of the times mortals challenged the Gods and lost, while Arachne wove accounts of the many times Zeus had raped mortal women.
└ from 26 — Helga Jakobson


We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented.
└ from 26 — Helga Jakobson


He had hundreds of cassette tapes, like many at the time.
└ from 27 — BJ Nilsen


We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.
└ from 27 — BJ Nilsen


I had hundreds of cassette tapes, mostly TDK.
└ from 27 — BJ Nilsen


When we met we had discussions about several professional subjects and decided to realise a publication.
└ from 28 — John Duncan


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


One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato.
└ 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 !