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TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB.
└ from 01 — Pushing Scores Overview


Sun 15 Oct 2017 15:00 @ Pinkie Bowtie, Antwerp TETRA GAMMA CIRCULAIRE #3 @ PINKIE BOWTIE/AN INFORMATIVE FLOPPY SESSION Tetra Gamma Circulaire #3 (TGC#3) is now travelling as an open, floppy platform.
└ from 01 — Pushing Scores Overview


The first stop is at Pinkie Bowtie, Antwerp, where we will introduce the entity of TGC#3 as the an unknown music magazine that it is, while pointing out its specific features by demonstrating the floppy works that already reside in the collection.
└ from 01 — Pushing Scores Overview


The meeting is open for members of the public who are interested in experimental ways of publishing or who just like to hang out amongst the ambience of artistic ‘nouveauté’.
└ from 01 — Pushing Scores Overview


Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone.
└ from 01 — Pushing Scores Overview


This work, developed for The Small Museum project at Paradiso, is part of 'Pushing Scores' – a research project by DE PLAYER in connection with Remco van Bladel about the current state and potential of the 'graphical score'.
└ from 01 — Pushing Scores Overview


The work is voiced by Laetitia Saedier of Stereolab.
└ from 01 — Pushing Scores Overview


Sat 14 & Sun 15 Apr 2018 @ Corner of Maashaven Oostzijde and Brieselaan (next to Metrostation Maashaven), Rotterdam DE PLAYER PRESENTS 'GREATEST HITS' A solo exhibition by Matthieu Reijnoudt, curated by Willem de Haan 'Greatest Hits' is an exhibition based on twenty-five hand-drawn scores by Matthieu Reijnoudt.
└ from 01 — Pushing Scores Overview


The complete selection of scores is published in a music book.
└ from 01 — Pushing Scores Overview


The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance.
└ from 01 — Pushing Scores Overview


What are the possibilities of the graphic score in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?
└ from 01 — Pushing Scores Overview


Pushing Scores' is a two-year artistic research project, initiated by DE PLAYER and graphic designer Remco van Bladel.
└ from 01 — Pushing Scores Overview


So what is the current state of the graphic score?
└ from 01 — Pushing Scores Overview


Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century.
└ from 01 — Pushing Scores Overview


What are the possibilities of the graphic score, in a day and age in which graphic notation is still commonly seen as 'drawing', merely serving as some kind of sheet music?
└ from 01 — Pushing Scores Overview


The collective goal is to develop and present new audio-visual and media-technical forms of graphic notation through artistic research and development.
└ from 01 — Pushing Scores Overview


The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media.
└ 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


TGC#3 is compiled in collaboration with students of the Piet Zwart Institute who undertake the Experimental Publishing programme, also known as XPUB.
└ from 02 — Release - Tetra Gamma Circulaire 3


TGC#3 is a particular kind of publishing platform engineered for sonic experiments, instruments and installations.
└ from 02 — Release - Tetra Gamma Circulaire 3


This is a magazine without any format, with the intention for a new one to be developed each time.
└ from 02 — Release - Tetra Gamma Circulaire 3


The result is a combination of several media, which all coexist in a designed concrete object.
└ from 02 — Release - Tetra Gamma Circulaire 3


It has a Raspberry Pi sits at its core, and is programmed for several applications.
└ from 02 — Release - Tetra Gamma Circulaire 3


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


RAFAËL ROZENDAAL (NL) Rafaël Rozendaal is a visual artist who uses the Internet as his canvas.
└ from 04 — Noting Denoting


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


JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media.
└ from 04 — Noting Denoting


At every level of detail, the everyday sound of our urban surroundings is the focus of his work.
└ from 04 — Noting Denoting


REMCO VAN BLADEL (NL) Remco van Bladel is an Amsterdam-based graphic designer, and co-founder of the noise band/art collective Sonido Gris.
└ from 04 — Noting Denoting


He is also an art book publisher (Onomatopee, Eindhoven, and WdW Review, Rotterdam).
└ from 04 — Noting Denoting


He is a typography and graphic design tutor in the Department of Art and Design at ArtEZ University of the Arts, Arnhem, and is a frequent guest teacher at art schools throughout the Netherlands and abroad.
└ from 04 — Noting Denoting


Each run of ninty-nine copies (the maximum run of the machine) was printed on transparent foil and is now accompanied by a foil cover with the dub-cut audio file in it.
└ from 05 — Wiels Artbook Fair


The image duplicated in the zine is a drawing that is engraved on the glass plate of the copy machine itself.
└ from 05 — Wiels Artbook Fair


Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output.
└ from 05 — Wiels Artbook Fair


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


This print run is to be seen as a performative action.
└ from 05 — Wiels Artbook Fair


It is a complex work that nevertheless manages to remain simple and accessible in its final execution.
└ from 05 — Wiels Artbook Fair


He opens up the artistic field to explore what is happening in the art world.
└ from 05 — Wiels Artbook Fair


In his work, Colson constantly questions the relationship with the audience and is also strongly interested in mythology and the authentic (or not) mystique of the artist's existence, which he usually explores in his performances.
└ from 05 — Wiels Artbook Fair


The process is always important, but the end result, which is variable for Colson and influenced by the context, is an important part of his work.
└ from 05 — Wiels Artbook Fair


This piece is based on a question.
└ from 06 — Principium 2.0 Publication


The funny thing is that after the presentation at Stadslimiet, the recordings of this eight-hour performance were edited back to a 12" vinyl record, which was released by the label Ultra Eczema shortly after.
└ from 06 — Principium 2.0 Publication


The sequencer controller is a reed switch matrix that, when a magnet is present, allows step pulses to pass to digital switches that bridge the original Casio keys.
└ from 06 — Principium 2.0 Publication


Principium 2.0' is then another piece in step with the principle of Colson's original 'Principium'.
└ from 06 — Principium 2.0 Publication


This is an interview with Kris Delacourt (Remörk) on his practice and the 'Principium' story.
└ from 06 — Principium 2.0 Publication


As mentioned, this is the short version, can you give me the full story?
└ 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


Now, Peter is a really nice guy and really clever with these things, and I guess he understood my doubts.
└ from 06 — Principium 2.0 Publication


So the C note runs for tens minutes and the B note is something like five minutes and twenty seconds.
└ 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


Also because I really am convinced that this is just one more step towards something that can keep going, that it doesn't have to be final.
└ from 06 — Principium 2.0 Publication


I know it's not a final version, but it is a version nonetheless, and I want all versions to be of a certain quality.
└ 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


Of course, because the basic tempo is the same, it would have been relatively easy to start editing, splicing things together.
└ from 06 — Principium 2.0 Publication


But I'm not sure if it is at all possible to listen with concentration to eight hours of something like this.
└ from 06 — Principium 2.0 Publication


But it was pretty intense, so yes, this record is probably the light version.
└ 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


DE PLAYER: I could say that the 10" records were vinyl records as a tool, and that this LP is a vinyl record as a product.
└ 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


Then Peter and Koos asked me to do a record because they run a record label and they want to release stuff they think is interesting.
└ from 06 — Principium 2.0 Publication


DE PLAYER: When Joseph Beuys was asked why he hated the term 'conceptual art', he said, 'Because a concept, an idea, is a starting point, not a final form.
└ from 06 — Principium 2.0 Publication


Art is not pinning things down.
└ from 06 — Principium 2.0 Publication


Art is letting things go, let it flow.
└ from 06 — Principium 2.0 Publication


Still, the Ultra Eczema one is definitely the first record that is more widely available, and much more of a pure record than an artist's edition, so I know what he’s saying.
└ from 06 — Principium 2.0 Publication


So this is very much a straightforward live recording of a pretty weird DJ set, if you will.
└ from 06 — Principium 2.0 Publication


What are the possibilities of graphic scores, in a day and age in which graphic notation is still commonly seen as a 'drawing', merely serving as some kind of sheet music?
└ from 07 — Pu-sh-ing-Sco-res Event


The collective goal is to develop and present new audiovisual and media-technical forms of graphic notation through artistic research and development.
└ from 07 — Pu-sh-ing-Sco-res Event


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


— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne.
└ from 07 — Pu-sh-ing-Sco-res Event


She is part of the sound art collective Sculptress of Sound.
└ from 07 — Pu-sh-ing-Sco-res Event


DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music.
└ 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


In the case of the 'prepared record', the record or musical piece is not used as a reproductive technique.
└ from 07 — Pu-sh-ing-Sco-res Event


The end result is not a reproduction but a transformation of the original source and ultimately becomes an autonomous score and/or unique graphic/sculptural piece in and of itself.
└ from 07 — Pu-sh-ing-Sco-res Event


It is nessecary for evolution and survival.
└ from 07 — Pu-sh-ing-Sco-res Event


After every new recording the functioning apparatus is pushed ahead to further new impressions.
└ from 07 — Pu-sh-ing-Sco-res Event


That is one of the reasons for the necessity to always continue experiments in New Plasticism.
└ from 07 — Pu-sh-ing-Sco-res Event


TGC#3 is compiled in collaboration with the students of XPUB, a course within the Master of Media Design and Communication at the Piet Zwart Institute, Rotterdam.
└ from 09 — MAT>NET>PU TGC3 Presentation


HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number.
└ from 09 — MAT>NET>PU TGC3 Presentation


Hiele Martens' debut record is about to be released on Ultra Eczema and is expected to become one of the highlights of this year.
└ from 09 — MAT>NET>PU TGC3 Presentation


Currently she is constructing a digital and physical web; weaving together the overlapping, intuitive and sometimes complicated interconnections that comprise her interest in handcraft, witchcraft and digitalcraft.
└ from 09 — MAT>NET>PU TGC3 Presentation


JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician.
└ from 09 — MAT>NET>PU TGC3 Presentation


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


XPUB (International) Experimental Publishing (XPUB) is a new course of the Piet Zwart Institute's Media Design and Communication Master programme.
└ from 09 — MAT>NET>PU TGC3 Presentation


It resulted in the Tetra Gamma Circular #3, subtitled 'An unknown audio magazine', and is in itself a certain kind of publication platform that functions almost as a jukebox for floppy disks.
└ from 09 — MAT>NET>PU TGC3 Presentation


It is an experimental platform designed for sonic experiments, instruments and installations.
└ from 09 — MAT>NET>PU TGC3 Presentation


As a dancer she is curious about why there is no universal graphic notation system in the dance.
└ from 09 — MAT>NET>PU TGC3 Presentation


Whether it is about recording movements for archiving, or writing new choreographies for the future, she concentrated on which elements of dance are overwritable (such as direction or footwork) and which are not.
└ from 09 — MAT>NET>PU TGC3 Presentation


For TGC#3 he developed a tool that is a learning counterpart to his own musical input.
└ from 09 — MAT>NET>PU TGC3 Presentation


What are the possibilities of graphic scores, in a day and age in which graphic notation is still usually seen as a 'drawing', merely serving as some kind of sheet music?
└ from 10 — Valentina Vuksic


The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores.
└ from 10 — Valentina Vuksic


The 'runtime' of executed software is staged for an audience to provide an acoustic experience: That of logic encountering the physical world.
└ from 10 — Valentina Vuksic


VALENTINA VUKSIC (CH/NL) Valentina Vuksic is a computer artist and programmer based in Zürich.
└ from 10 — Valentina Vuksic


Her work is a personal exploration of the possibilities afforded by articulated hard- and software mediation.
└ from 10 — Valentina Vuksic


PARA-PHONIC POLY-DISCO Fri 12 Jan 2018 20:30 @ The Small Museum at Paradiso, Amsterdam with Remco van Bladel 'Para-phonic Poly-diso' is a graphic score for a digital, polyphonic choir wherein visitors of Paradiso can participate with their mobile phone.
└ from 11 — Para-phonic Poly-disco


The piece is voiced by Laetitia Saedier of Stereolab.
└ 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


An algorithmic choir is compiled live by the mobile phones that connect to the WiFi point while audiences are waiting in line to enter Paradiso.
└ from 11 — Para-phonic Poly-disco


Para-phonic Poly-diso' is a graphic score where Paradiso visitors can participate in a digital polyphonic choir.
└ from 11 — Para-phonic Poly-disco


This scale is the basis for 'Do-Re-Mi' and solfège, a music education method used to teach the singing of Western music.
└ from 11 — Para-phonic Poly-disco


As far as melody is concerned, humming was increasingly defined by the expansion of the number of lines, which first corresponded by colour and later by keys to certain steps in the medieval ranges.
└ from 11 — Para-phonic Poly-disco


In the eleventh century, Guido van Arezo introduced the staff with four lines (this is still in use).
└ from 11 — Para-phonic Poly-disco


In the middle of the thirteenth century, Peter de Cruce came to a notation in which the relative duration of each note is indicated by the form of the note.
└ from 11 — Para-phonic Poly-disco


The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object.
└ from 12 — Jacques Attali


During this period, the musical score is tied to a physical carrier for the first time, and thus becomes a commodity for sale in the market.
└ from 12 — Jacques Attali


He calls this chapter 'Represent' because it is the project of the executive.
└ from 12 — Jacques Attali


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


He wrote the book 'Noise: The Political Economy of Music', which is one of the inspirations for our project 'Pushing Scores'.
└ from 12 — Jacques Attali


Attali is the first to point out other possible logical consequences of the 'reciprocal interaction' model – namely, the possibility of a superstructure to anticipate historical developments and to foreshadow new social formations in a prophetic and annunciatory way.
└ 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


Remco van Bladel (Amersfoort, 1977) is a graphic designer based in Amsterdam.
└ from 13 — Remco van Bladel


Remco is co-founder of 'WdW Review' (Witte de With, Rotterdam), Dutch art book publisher Onomatopee and teaches graphic design at ArtEZ University of the Arts, Arnhem.
└ from 13 — Remco van Bladel


His artistic practice is formed by a number of ingredients that have always been present in his work to a greater or lesser extent.
└ from 13 — Remco van Bladel


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


Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form.
└ from 13 — Remco van Bladel


Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms.
└ from 14 — Derek Holzer


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


VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image.
└ from 16 — Tektronix Oscilloscope Music


An example is 'Tennis for Two', programmed in 1958 by William Higinbotham on an analogue computer at Brookhaven National Laboratories in Long Island, New York, using an oscilloscope as the display.
└ from 16 — Tektronix Oscilloscope Music


It combined a two-player interface with physics models of a bouncing ball displayed as vectors in motion, and is arguably the first publicly playable video game.
└ from 16 — Tektronix Oscilloscope Music


Perhaps the most iconic of these games is Asteroids', a space shooter released by Atari in 1979.
└ 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


remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic.
└ from 16 — Tektronix Oscilloscope Music


One of the originators of 'participatory art', in which the artwork can only be experienced by the active involvement of the viewer, he is most famous for his 'Event Scores', such as 'Drip Music' (1962), and is widely seen as an important precursor to conceptual art.
└ from 17 — Event Scores


He is inspiring for a lot of performance-based composers.
└ from 17 — Event Scores


Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact.
└ from 17 — Event Scores


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


A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians.
└ from 18 — Dirigeerstok


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


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


Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science.
└ from 19 — Jörg Piringer


He is also involved in the online poetry platform Huelkorven.
└ from 19 — Jörg Piringer


The way in which he arrives at his poetry is very closely linked to his knowledge and skills of the programming language.
└ from 19 — Jörg Piringer


For example, his work 'frakativ' is an electronic visual sound poetry performance.
└ from 19 — Jörg Piringer


The performance 'frikativ' is real-time generated visual and sound poetry.
└ from 19 — Jörg Piringer


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


Piringer is also involved in Huellkurven – an online sound poetry magazine and a series of events dedicated to sound poetry, poésie sonore, lautpoesie, noise poetry, sound-text composition, auditive poetry and audio poetry, among other things.
└ from 19 — Jörg Piringer


For each record a unique piece is generated that is spoken and performed by the same software.
└ from 19 — Jörg Piringer


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


DE PLAYER is interested in sound that fraternies in the abstract sense and makes people communicate with each other, without having to understand each other specifically in terms of language.
└ from 20 — Concrete Poetry


In a multicultural situation, abstract sounds are forms of recognition; then there is, for example, music.
└ from 20 — Concrete Poetry


Cultural identity is therefore communicated through this.
└ from 20 — Concrete Poetry


It is important here that the language is sung off the usual value of speech.
└ from 20 — Concrete Poetry


The foundation of language as an information transmission is the foundation of these tendencies and is at the heart of the oral tradition principle, influencing how stories can be told, how traditions are passed on, how the past feeds the present and how the present forms itself by muttering the past.
└ from 20 — Concrete Poetry


Multilingualism is important in giving meaning to the things around us.
└ from 20 — Concrete Poetry


Publishing, as mentioned above, is important to communicate various ways of expression.
└ from 20 — Concrete Poetry


This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role.
└ from 20 — Concrete Poetry


Listening in the sense of 'Radical Listening' is therefore not only about ears specifically, but generally about exploring our world, our position in it and the way in which communication is possible.
└ from 20 — Concrete Poetry


In our opinion, this area is an important one, especially in experimental sound, in the lecture-form and in the visual arts.
└ from 20 — Concrete Poetry


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


IRREGULAR #2313 STRIPPED Fri 14 Oct 2011 21:00 @ Wall Gallery, Rotterdam with Fersteinn Fersteinn (IS) is a quartet of multi-instrumentalists that play compositions by Guðmundur Steinn Gunnarsson, a repertoire that is written especially for the ensemble.
└ from 21 — Animated Notation


Guðmundur Steinn Gunnarsson (born 1982) is an Icelandic composer, performer and a founding member of S.L.Á.T.U.R., an experimental arts organisation in Reykjavík, as well as co-curator of the festival Sláturtíð.
└ from 21 — Animated Notation


When things then open up, a new sense of variety is gained.
└ from 21 — Animated Notation


Anitation' is the term for animated notation.
└ from 22 — Anitation


When things then open up, a new sense of variety is gained.
└ from 22 — Anitation


This technique of composing is performed by Guðmundur Steinn Gunnarsson and his quartet Fersteinn.
└ from 22 — Anitation


Guðmundur Steinn Gunnarsson is an Icelandic composer writing music based on irregular or non-pulse oriented rhythms.
└ from 22 — Anitation


Johannes Kreidler is a special case when it comes to composing.
└ from 24 — Johannes Kreidler


His work is described as conceptual music.
└ from 24 — Johannes Kreidler


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


This is close to his work ‘Charts Music’, in which he used the share prices of various companies to derive pitches.
└ from 24 — Johannes Kreidler


In this piece, too, reference is made to the borderline areas of copyright, and credits composers and copyright holders mentioned by the respective companies instead of Kreidler himself.
└ from 24 — Johannes Kreidler


According to Kreidler, the action, entitled 'Fremdarbeit', is intended to focus attention on the themes of exploitation and authorship.
└ from 24 — Johannes Kreidler


Product Placements by Johannes Kreidler is a 10" blue vinyl with poster and Xerox copies, edition of 150 pieces.
└ from 24 — Johannes Kreidler


Johannes Kreidler is a composer and concept and media artist.
└ 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


This piece is to be seen as a plunder phonic composition in extremis.
└ 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


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


Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records.
└ 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


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


This 'other way' to come to sound is an interesting phenomenon.
└ from 25 — Ana Guedes


Also the way in which she approaches the technical implementation of possibilities to program the record players is interesting, especially regarding, for example, the idea of 'schematics as a score'.
└ from 25 — Ana Guedes


Helga Jakobson is a Canadian artist whose practice consists of exploring conditions of limbo, with a focus on death, time and the ephemeral.
└ from 26 — Helga Jakobson


This takes shape by building digital interfaces; instrumentation used to explore, amplify and reflect what is barely visible, tangible or audible, while expressing the resonance and relationship between people, plants and organic matter.
└ from 26 — Helga Jakobson


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


In Japan there's a focus on the lure of the spider, where it is sometimes likened to a prostitute.
└ 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


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


Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.
└ from 26 — Helga Jakobson


A spider web is not only an illustration of a spider's mental landscape, but an instrument it plucks and plays.
└ from 26 — Helga Jakobson


ORE by BJ Nilsen This work by BJ Nilsen can be seen as an observing documentary and is related to time-lapse filmmaking.
└ from 27 — BJ Nilsen


As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning.
└ from 27 — BJ Nilsen


What is the relationship between the sounds of mining and the community that surrounds them?
└ from 27 — BJ Nilsen


This line is interrupted a few times and the different time periods work together and overlap.
└ from 27 — BJ Nilsen


It is a mix of sound recordings made at different times.
└ 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


The idea is that you find an asteroid that is really rich in some rare metal that we really need and that one can claim.
└ from 27 — BJ Nilsen


There is a small tribute to Groupe de recherches Musicales (GRM) in Paris and Pierre Henry, which is directly related to iron ore.
└ from 27 — BJ Nilsen


Douglas Kahn is Professor of Media and Innovation at the National Institute of Experimental Arts (NIEA), University of New South Wales, Sydney, and Professor Emeritus at the University of California, Davis, where he was the Founding Director of Technocultural Studies.
└ from 27 — BJ Nilsen


He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts.
└ from 27 — BJ Nilsen


Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance.
└ 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


The north of Norway is one of the oldest rock formations in the world.
└ 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 also visited Most in the Czech Republic because there is a huge operational open pit mine.
└ from 27 — BJ Nilsen


It is a vast scar in the landscape, and really an incredible place.
└ 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


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


This mining work is tied directly to the computer age, itself an alchemic expression of man's ingenious use of the earth.
└ from 27 — BJ Nilsen


Modernity is made by the manipulation and transmutation of organic and synthetic materials through design and research.
└ from 27 — BJ Nilsen


One is the waste you make to get to the ore.
└ from 27 — BJ Nilsen


The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process.
└ from 27 — BJ Nilsen


It is important for companies to manage this.
└ from 27 — BJ Nilsen


But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times.
└ from 27 — BJ Nilsen


So much time is compressed in this material and it's burned up in minutes.
└ from 27 — BJ Nilsen


We trace out all the veins of the earth, and yet, living upon it, undermined as it is beneath our feet, are astonished that it should occasionally cleave asunder or tremble: As though, forsooth, these signs could be any other than expressions of the indignation felt by our sacred parent!
└ from 27 — BJ Nilsen


Pliny the Elder, 'Naturalis Historia, book XXXIII', p. 77, data.perseus.org/citations/urn:cts:latinLit:phi0978.phi001.perseus-eng1:33.1 'If, as Novalis and many of his friends believed, stones, metals and rock strata amount to transcriptions of the earth's history, what better place to study that history than in the mines and caverns of the earth, where the entire record is preserved and exposed?
└ 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


It is a base of hard rock under the water with different layers of material.
└ from 27 — BJ Nilsen


It is a playground for sedimentologists because you can see how land and deltas form.
└ from 27 — BJ Nilsen


It is not enough to make a mine plan, but enough to get a small cash flow.
└ from 27 — BJ Nilsen


The landscape is fairly untouched, it is scarcely populated, it's desolate.
└ from 27 — BJ Nilsen


Except for the mining, but that then is also why I find mining in the Arctic especially interesting.
└ from 27 — BJ Nilsen


The Arctic is changing quickly.
└ from 27 — BJ Nilsen


That is quite scary.
└ from 27 — BJ Nilsen


Far down in the Earth the rock is actually moving.
└ from 27 — BJ Nilsen


These can be an indicator that something is about to happen, the sounds tell something about the stability of the rock.
└ from 27 — BJ Nilsen


Listening underground is like reading the environment.
└ from 27 — BJ Nilsen


By physically interacting with the stone you can determine what material it is.
└ from 27 — BJ Nilsen


In practice it's quite mathematical, but it still it is part of the sound world too.
└ from 27 — BJ Nilsen


Through soundwaves geologists are able to map what is underground.
└ from 27 — BJ Nilsen


There is a little homage to GRM and Pierre Schaeffer on the record.
└ from 27 — BJ Nilsen


It made me recognise again how close we are to the source of ore, and how my development as an artist was shaped by iron ore.' 'The iron ore is refined and filtered, making sure the pure magnetite comes out.
└ from 27 — BJ Nilsen


Only a small percentage of the ore is iron, the rest is slag and waste.
└ from 27 — BJ Nilsen


It is a process that somehow relates to my own artistic process.
└ from 27 — BJ Nilsen


Black Moon by John Duncan Black Moon is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede.
└ from 28 — John Duncan


The selection of sounds is done according to properties that lie outside the predictable controllable parameters in order to arrive at a complex multidimensional listening experience.
└ from 28 — John Duncan


By compactly interweaving the frequencies, a different image is created for the listener at each listening session because of the psycho-acoustic selections that take place at the level of the listener.
└ from 28 — John Duncan


The record can thus be considered as a potential composition, which is performed by the listener themselves through the aforementioned process.
└ from 28 — John Duncan


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


Duncan also often works with Carl Michael Hausswolff, who is an expert in EVP.
└ 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


He is currently a sound designer at the Art Academy of Bologna, Italy.
└ from 28 — John Duncan


The publication 'Black Moon' (DOB 096) is composed of shortwave radio signals, recorded via the online receiver website of the Technical University of Enschede.
└ from 28 — John Duncan


Niek Hilkmann is a Rotterdam based artist, musician and researcher with a background in art history, media design and musicology.
└ from 29 — Niek Hilkmann


It is based in Rotterdam in the same area that we operate in.
└ from 29 — Niek Hilkmann


The idea is that this material will be embodied by a dynamic, accessible and therefore active archive, which creates new relations, new perspectives and, at its best, new concepts for the production and/or processes of making scores.
└ from 29 — Niek Hilkmann


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


It is based on a new notation system designed to help conceptual composers develop and exchange conceptual music in one uniform language.
└ from 29 — Niek Hilkmann


The actual printing of the thermal paper is a stochastic performance in itself.
└ from 29 — Niek Hilkmann


Black MIDI' is a music genre consisting of compositions that use MIDI files to create song remixes containing a large number of notes, typically in the thousands or millions, and sometimes billions.
└ from 30 — Black Midi


However, there is no specific criteria for what is considered 'black', and as a result, finding an exact origin of black MIDI is impossible.
└ from 30 — Black Midi


Transformation of information is a fact that occurs during the process of composing and performing the compositions.
└ from 30 — Black Midi


In that sense, there is never a perfect reproduction but always an interpretation.
└ from 30 — Black Midi


This is an interesting process in which boundaries can be explored and in which the idea of 'cracked media' – whose performers challenge the intended effect of the technology and actively use alternative acts through subversive acts of abuse and misconception to generate results – is an interesting one.
└ from 30 — Black Midi


Black MIDI is a beautiful example of how new technology/consumer electronics and their abuse lead to new implications and applications.
└ from 30 — Black Midi


This one is a pretty contemporary example and results in great imagery and sound.
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The black MIDI community in Japan vanished quickly because, according to Jason Nguyen (owner of the channel 'Gingeas'), the group was 'analogous to those TV shows where there’s a mysterious founder of a civilisation that is not really known throughout the course of the show.
└ 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


Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics.
└ 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


One of Marco's most-known projects is called 'Black Mass Implosion'.
└ from 31 — Marco Fusinato


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


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


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