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Sentences that have its in common :


DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine.
└ 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


By travelling with TGC#3 we aim to expand its floppy collection and to focus on experimental ways of publishing.
└ from 01 — Pushing Scores Overview


Throughout the project, Jacques Attali’s book, 'Noise: The Political Economy of Music', will function as a reference and inspirational guide; pushing the score in search of its current potential.
└ 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


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


The commercial potential and its associated value assessment are problematic for Colson.
└ from 05 — Wiels Artbook Fair


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


Coming up with a concept can be as much a creative process as navigating its actualisation.
└ 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


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


DE PLAYER will unveil its third issue of Tetra Gamma Circulaire (TGC) – the unknown audio magazine.
└ 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


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


Designed as a concrete object in which various techniques are incorporated, its core consists of a floppy drive and a Raspberry Pi platform, on which a local WiFi station, a camera, an audio in/output, touch sensors and LED lighting are realised.
└ from 09 — MAT>NET>PU TGC3 Presentation


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


In reaction to the dematerialisation of music (the general disappearance of music released in its physical form), the artists of the ARTKILLART label roster refocus their releases as material objects.
└ from 10 — Valentina Vuksic


Software being processed creates its own temporal and spatial dimensions, which are staged for a public.
└ from 10 — Valentina Vuksic


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


What kind of scores can be made with the myriad of new techniques and media that have been developed since Attali's writing, and which are definitely influential on our conceptual thinking of music and its reproduction.
└ from 12 — Jacques Attali


The studio also takes care of the graphic design of the art magazine Metropolis M and its accompanying website.
└ 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


and took part in founding its festival Sláturtíð.
└ from 22 — Anitation


Her archival approach and its political and personal implications are the starting point of this work.
└ from 25 — Ana Guedes


The idea of a graphic score, a readable gesture, aids in the playability/repeatability of a piece of music that through its repetition allows for exploration, interpretation and imagination.
└ from 26 — Helga Jakobson


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


I am drawn to the Arctic as a sound person because of its relative remoteness.
└ from 27 — BJ Nilsen


We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'.
└ 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


By emphasising this aspect of the machine as a musical entrepreneur earning his own income, the conditions of mechanised labour within the cultural industry, and its associated ethics, are investigated within this project.
└ 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


In its beginning years, black MIDIs were represented visually with traditional two-stave piano sheet music, and contained a number of notes only in the thousands.
└ from 30 — Black Midi


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
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G e n e r a t e s c o r e !