[x] made ▶

Sentences that have made in common :


Nevertheless, he showed me some books he once made in New York, which he said were to be seen as musical scores.
└ from 04 — Noting Denoting


Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine' by Vaast Colson, produced on a 'prepared copier' At the 2016 WIELS Art Book Fair we presented this live-made, copy-zine by Vaast Colson named 'Carlson invents, Colson presents: 99 spines produced on a modified Canon IR2016 copy machine', which was produced on a 'prepared copier'.
└ from 05 — Wiels Artbook Fair


His works, which are regularly made in situ, are often difficult to sell.
└ 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


Colson made two booklets in the 'Principium' series – comprised of reproductions of each used sticker sheet and the result.
└ from 06 — Principium 2.0 Publication


He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?
└ from 06 — Principium 2.0 Publication


And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?
└ from 06 — Principium 2.0 Publication


So he showed me the two booklets he made for the 'Principium' series – reproductions of each used sticker sheet and the result.
└ 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


But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier.
└ from 06 — Principium 2.0 Publication


I think I ended up with five or six pieces that I though could hold their own on a record, four of which made the final cut.
└ from 06 — Principium 2.0 Publication


But they were live events, not editing choices made afterwards.
└ from 06 — Principium 2.0 Publication


Within this framework we presented newly produced works, made specifically for 'Pushing Scores', alongside existing works that we thought would be interesting to combine.
└ from 08 — Art Rotterdam Presentation


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


Her score was made on the spot with programming language; a sort of live coding.
└ from 10 — Valentina Vuksic


This represents the music in the absence of the maker, and in the presence of an audience an effort must be made to read and articulate the intensity of the composer of the magazine.
└ 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


Yet these alternate approaches brought us together and made 'Pushing Scores' real.
└ 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


Fricatives' are consonants produced by forcing air through a narrow channel made by placing two articulators close together.
└ from 19 — Jörg Piringer


Fersteinn plays from animations made as compositions on a laptop.
└ from 21 — Animated Notation


Most compositions are made by Guðmundur Steinn Gunnarsson.
└ from 21 — Animated Notation


This Icelandic quartet plays with little analogue instruments and animation scores Gunnarsson made on his computer.
└ from 22 — Anitation


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


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


It is a mix of sound recordings made at different times.
└ from 27 — BJ Nilsen


The musique concrète, as developed by Henry at GRM, was made by magnetic tape.
└ from 27 — BJ Nilsen


It made him realise how closely he was actually involved in the process of iron ore, and how his development as an artist was shaped thanks to iron ore.
└ from 27 — BJ Nilsen


I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow.
└ from 27 — BJ Nilsen


I made recordings of the sound of striking coal at the house of Hilde Methi, a curator who lives in Kirkenes.
└ 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


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


For me it relates directly to iron ore in so far that the type of musique concrète and tape music developed at GRM was made possible by magnetic tape.
└ 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


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


He also made periodic broadcasts from his own home.
└ from 28 — John Duncan


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