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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


For every performance a different instrument has been selected.
└ from 01 — Pushing Scores Overview


This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years.
└ from 01 — Pushing Scores Overview


It has a Raspberry Pi sits at its core, and is programmed for several applications.
└ 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


Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor.
└ from 06 — Principium 2.0 Publication


It's an iron board and it has the same visuals as the sticker sheets.
└ from 06 — Principium 2.0 Publication


For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down.
└ from 06 — Principium 2.0 Publication


Still, not sure if it is easy listening at all, although I think it has a beauty of it's own.
└ from 06 — Principium 2.0 Publication


I don't feel this record has that.
└ from 06 — Principium 2.0 Publication


And even though it has strong rhythmic patterns, the underlying harmonies and atmosphere shift quite slowly.
└ from 06 — Principium 2.0 Publication


Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand.
└ from 07 — Pu-sh-ing-Sco-res Event


The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards.
└ from 07 — Pu-sh-ing-Sco-res Event


It has been beneficial for us because the format allowed us to reach an audience that would otherwise never come to DE PLAYER itself.
└ from 08 — Art Rotterdam Presentation


Jakobson has great reverence for intuition and it's use as a technology within her work.
└ from 09 — MAT>NET>PU TGC3 Presentation


The audience has the opportunity to control the dancers' steps on stage through a web interface that shows her personal approach to graphically representing ten jive steps.
└ from 09 — MAT>NET>PU TGC3 Presentation


ARCHIVING 'PUSHING SCORES' WITH VALENTINA VUKSIC, ANA GUEDES, VARIA AND NIEK HILKMANN Thu 29 Nov 2018 20:00 @ Varia, Rotterdam During this evening we will focus on archiving our 'Pushing Scores' project, a project interrogating the meaning of the 'graphic score' that has been running for the last two to three years.
└ from 10 — Valentina Vuksic


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


Attali believes that music has gone through four specific cultural stages throughout its history: 1.
└ from 12 — Jacques Attali


The argument of 'Noise' is that music, unique among the arts for reasons that are themselves overdetermined, has precisely this annunciatory vocation; that the music of today stands both as a promise of a new, liberating mode of production, and as the menace of a dystopian possibility – which stands as that mode of production's baleful mirror image.
└ from 12 — Jacques Attali


The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design.
└ from 13 — Remco van Bladel


Since 2002, he has performed live, taught workshops and created scores of unique instruments and installations across Europe, North and South America and New Zealand.
└ 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


This has led to a new interest in analogue processes or 'dirty hands' art.
└ 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


This has led to a new interest in analogue processes or 'dirty hands' art.
└ from 15 — Schematic as Design


In 2011, Derek Holzer wrote an essay on this issue, which has since been published on the Internet as a downloadable PDF called 'VAGUE TERRAIN 19'.
└ from 15 — Schematic as Design


As Friedrich Kittler has observed, the relationship of media technology to military tools of destruction was sealed by moments such as these.
└ from 16 — Tektronix Oscilloscope Music


The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years.
└ from 17 — Event Scores


This object is chosen to be part of the archive because it is the first and most simple tool to translate a written score to the musician who has to execute it.
└ from 18 — Dirigeerstok


Jörg Piringer has contributed to Each One, a 10" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces.
└ from 19 — Jörg Piringer


Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past.
└ from 19 — Jörg Piringer


Here it has played an important role and as such it is still current.
└ from 20 — Concrete Poetry


Through his compositions he has developed a rhythmic language devoid of regular beat or metre, and he has created a new musical notation to represent his music.
└ from 21 — Animated Notation


This approach has led to the development of his animated notation, or 'anitation', instead of using traditional musical scores.
└ from 21 — Animated Notation


Guðmundur Steinn Gunnarsson has been part of DE PLAYER's programme with his quartet Fersteinn several times.
└ from 22 — Anitation


He has been active with a composer collective in Iceland called S.L.Á.T.U.R.
└ from 22 — Anitation


His music has been performed by the BBC Scottish Symphony Orchestra, the Iceland Symphony Orchestra, Caput Ensemble, Reykjavík Chamber Orchestra, Ensemble Adapter, Tøyen Fil og Klafferi, Ensemble l’Arsenale, Ensemble CRUSH, Aksiom Ensemble, Nordic Affect, Defun Ensemble, Iceland Flute Choir, Duo Harpverk, Roberto Durante, Markus Hohti, Mathias Ziegler, Georgia Browne, Timo Kinnunen, Shayna Dunkelmann, Una Sveinbjarnardóttir and Tinna Þosteinsdóttir.
└ from 22 — Anitation


Silence has a kinetic role in social exchanges: Quietude, reflective pauses, withdrawal, displays of consent or dissent, reception and interpretation.
└ from 23 — Silence


I think silence has that same relation with music.
└ from 23 — Silence


Emptiness has that same relation with notation.
└ from 23 — Silence


The music production facility is consciously located in a legal grey area, which has been greatly enlarged by digital technologies.
└ from 24 — Johannes Kreidler


His way of composing has a multimedia conceptual approach, which is mostly linked with processes in society.
└ from 24 — Johannes Kreidler


The plant is deliberately located in a legal gray area, which has been greatly enlarged by digital technologies, so that it is impossible to clarify the case so far.
└ from 24 — Johannes Kreidler


Knowledge sharing across traditions has often taken place through oral mythology.
└ from 26 — Helga Jakobson


From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time.
└ from 27 — BJ Nilsen


Over the years he has built up an extensive sound archive around this subject.
└ 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


The recordings I did in the former mining region of the Netherlands are again more environmental: The mine near Heerlen has been developed into a park and nature area.
└ from 27 — BJ Nilsen


The slambanken is a totally artificial, man-made landscape that has formed because the waste of the iron ore processing was flushed into the fjord.
└ from 27 — BJ Nilsen


John Duncan has been active for decades at the cutting edge of performances, video, experimental music, installation, pirate radio and television.
└ from 28 — John Duncan


He has played a central role in the development of performing arts in Los Angeles, experimental music as a member of LAFMS, Japanese noise and pirate radio in Tokyo.
└ from 28 — John Duncan


Duncan's work has a lasting influence on experimental music because his art is generally still refined and refined, and he regularly collaborates with young artists.
└ from 28 — John Duncan


Since the beginning of his practice, he has made extensive use of recorded sound.
└ from 28 — John Duncan


He has a particular interest in the abstruse technological condition we are living in and the insufficient intellectual methodologies that seek to justify, or explain it.
└ from 29 — Niek Hilkmann


Varia has developed a context and technical environment as a web-based archival publication.
└ 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


While black MIDIs of Japanese video game music and anime are still common, the genre has also begun spilling into modern-day pop songs, such as 'Wrecking Ball' by Miley Cyrus.
└ from 30 — Black Midi


Black MIDI has also been considered the digital equivalent, as well as a response to composer Conlon Nancarrow's use of the player piano, which also involved experimenting with several thick notes to compose intricate pieces without hands.
└ 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


Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording.
└ from 31 — Marco Fusinato


Fusinato's intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one – a relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise.
└ from 31 — Marco Fusinato


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