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Can a tune be translated into an image?
└ from 01 — Pushing Scores Overview


Later on, this developed into the type of musical notation we are familiar with in Western music.
└ from 01 — Pushing Scores Overview


TUNING – DETUNING/NOTING – DENOTING 17 Mar 2017 @ Witte de With Center for Contemporary Art, Rotterdam with Yann Gourdon, Floris van Hoof, Rafaël Rozendaal, Remco van Bladel Can a tune be translated into an image?
└ from 04 — Noting Denoting


Connecting his many worlds, ideas and influences into highly personal live performances and recordings, he keeps on amazing people both here and abroad.
└ from 04 — Noting Denoting


Nevertheless, we finally fine-tuned concepts and decided not produce recordings but to embed the concept of 'Principium' into a two-in-one record and a music tool.
└ from 06 — Principium 2.0 Publication


He then reassembled these line segments into new shapes and new lines.
└ from 06 — Principium 2.0 Publication


Line segments which he reassembled into new shapes and new lines.
└ from 06 — Principium 2.0 Publication


It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile.
└ from 06 — Principium 2.0 Publication


I don't know if I need to go into too much technical detail, but the sequencer controller is just a reed switch matrix that, when a magnet is present, allow step pulses to pass to digital switches that bridge the original Casio keys.
└ from 06 — Principium 2.0 Publication


The idea of just me making a record totally ignores that, and to me it turns it into something really static and rigid.
└ from 06 — Principium 2.0 Publication


DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?
└ from 06 — Principium 2.0 Publication


Was one of your fears that, by making it into a 12", you would have to bring this project to a final version?
└ from 06 — Principium 2.0 Publication


Of course, taking what is essentially a medium for reproducing and turning it into something of an instrument in it's own right again, that's nothing new – think hip hop, turntablism, even things like the Mellotron did that.
└ from 06 — Principium 2.0 Publication


But now with this thing it just seemed to fall into place perfectly.
└ from 06 — Principium 2.0 Publication


Kris Delacourt: Not having to execute ideas into a physical and therefore flawed final form was the whole point of conceptual art, no?
└ from 06 — Principium 2.0 Publication


The notion that an idea can be just as valid and just as creative as its execution.., But anyway, I am always glad if I manage to turn an idea into a physical form.
└ from 06 — Principium 2.0 Publication


Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones.
└ from 07 — Pu-sh-ing-Sco-res Event


Incorporated into the structure of the book are sensors and electronics, providing each page with its own unique soundtrack, which can be listened to via speakers or headphones.
└ from 07 — Pu-sh-ing-Sco-res Event


Hiele Martens, or the collaboration of Lieven Martens Moana and Roman Hiele, delve deeply into new territory that could be interpreted as a 2017 update of Maurice Kagel's 'Exotica', but made by self-aware electronic musicians.
└ from 09 — MAT>NET>PU TGC3 Presentation


The concept of the course revolves around two core principles: First, the inquiry into the technological, political and cultural processes through which things are made public; and second, the desire to expand the notion of publishing beyond print media and its direct digital translation.
└ from 09 — MAT>NET>PU TGC3 Presentation


Through research into the act of improvisation in music, Max investigates ideas about liberation and resistance present in improvisation; both in artistic practices, and their broader application as a critical methodology of research and exploration.
└ from 09 — MAT>NET>PU TGC3 Presentation


Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups.
└ from 10 — Valentina Vuksic


It was a good concert and her way of working fit into our ideas of exploring graphic scores very well.
└ from 10 — Valentina Vuksic


A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece.
└ from 11 — Para-phonic Poly-disco


The Small Museum, the former announcement box at the front of Paradiso, is being converted by Remco van Bladel into a local WiFi point that will stream a polyphonic 'Pa-Ra-Di-So'.
└ from 11 — Para-phonic Poly-disco


The Small Museum, which was previously used to house the public announcements of the church, will be transformed into a local WiFi hotspot to stream a multi vocal 'Pa-Ra-Di-So Rapsodia' – a live algorithmic choir composition created through the phones that connected to the WiFi, and therefore the score, while waiting to enter the building.
└ from 11 — Para-phonic Poly-disco


It was an investigation into methodologies within his own artistic practice.
└ from 13 — Remco van Bladel


In it he considers it axiomatic that, for every work of art that must be considered experimental, the possibility of failure must be built into its process.
└ from 14 — Derek Holzer


A theoretical and historical text about the concept, written by Derek Holzer, 23 Nov 2016, Helsinki THE VECTORIAN ERA: An Investigation into Analogue Computer Graphics The Vectorian Era opens with a screaming across the sky.
└ from 16 — Tektronix Oscilloscope Music


The laboratory itself performed government research into nuclear physics, energy technology and national security.
└ from 16 — Tektronix Oscilloscope Music


In 1967, the Sony Portapak revolutionised video by taking the camera out of the television studio and into the hands of amateurs and artists.
└ 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


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


Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions.
└ from 19 — Jörg Piringer


Each date and signature is a coordinate, a clue in the reconstruction of a map tracing complex historical occurrences splitting into an infinite number of threads.
└ from 25 — Ana Guedes


Ana Guedes' project 'UNTITLED RECORDS' fits into our idea of finding new ways to compose very seamlessly.
└ from 25 — Ana Guedes


Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors.
└ from 26 — Helga Jakobson


After Arachne won the competition, Athena transformed her into a spider, and this is where the name for arachnids originates.
└ from 26 — Helga Jakobson


This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web.
└ from 26 — Helga Jakobson


In searching I began imagining where I would make a web, and then marvelling when I would find one in the most unlikely place, which only enchants me further into the world of spiders and webs and mythology.
└ from 26 — Helga Jakobson


In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages.
└ 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


What I like about these recordings is that they already have been processed through the rock and soil and transposed into human hearing range...
└ 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


It’s millions of years compressed into hard materials that are burned up, like coal, or painstakingly refined to yield useful metal.
└ 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


When they were cleaning the old silos they flushed everything out into the slambanken.
└ from 27 — BJ Nilsen


You cannot talk about mining in the North without getting into the question of what it means for the landscape, for the people and the animals living there, for the communities and the relations between all these.
└ from 27 — BJ Nilsen


The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording.
└ from 28 — John Duncan


During an evening at the Varia collective, where Valentia Vuksic and Ana Guedes also played a live set and explained their work and backgrounds, Niek Hilkmann, who is part of the Varia team, presented his Universal Notation Ideal (UNI) – a Pay2Print research into the simultaneous production and distribution of standardised graphic scores by means of an automatic machine.
└ from 29 — Niek Hilkmann


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


The popularity of black MIDI transitioned into Europe and the United States due to a video of a composition uploaded by Kakakakaito1998 in February 2011.
└ 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


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


People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows.
└ from 31 — Marco Fusinato


In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration.
└ 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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