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Sentences that have not in common :


It’s not a matter of an event between spectators and a musician– it’s a space to submit to a process.
└ from 04 — Noting Denoting


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


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


Anyway, Vaast was putting together a show where other people would do reinterpretations of some of his works, and around the same time we had a nice chat about alternative musical scores, graphic scores and what not.
└ from 06 — Principium 2.0 Publication


And because I couldn’t make up my mind about what sounds to record from the Casio, I ended up not recording the Casio at all.
└ from 06 — Principium 2.0 Publication


I decided to stop worrying, which after two years of doubting might not be such a bad thing, and did a ten-minute improvised recording on organ and MS20, playing only C notes.
└ from 06 — Principium 2.0 Publication


Also nice, but not really musical.
└ from 06 — Principium 2.0 Publication


Basically, the program decided for me which records to play, whether to repeat them or not when they were finished, whether to leave the turntable empty, whether the electronics should punch holes in the sound when a magnet was detected or the opposite, how may magnets on each turntable and the playback volume.
└ from 06 — Principium 2.0 Publication


So I went through eight hours of recordings, selecting bits that I liked and that I thought would be interesting enough to listen to as pieces in their own right, and not just as part of this monster performance.
└ from 06 — Principium 2.0 Publication


I can still see unexplored possibilities there – as an installation, or as a truly playable musical instrument, and even those two do not have to be mutually exclusive.
└ from 06 — Principium 2.0 Publication


DE PLAYER: Dennis said you were not really keen on doing this record at first.
└ from 06 — Principium 2.0 Publication


Kris Delacourt: Not really, at least not in this case.
└ from 06 — Principium 2.0 Publication


I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there.
└ 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


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


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


But I really needed a break from thinking it over and to just do something... Plus, it adds a much needed layer of spontaneity that works beautifully, not in the least musically, so no regrets.
└ 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


Otherwise you're not an artist.
└ from 06 — Principium 2.0 Publication


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


It can make you go against your natural inclinations, which does not always have to be a bad thing.
└ from 06 — Principium 2.0 Publication


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


Like I said, I know it's not easy listening per se, and some might probably find it boring at first try, with the tempo being the same for the whole record and all.
└ from 06 — Principium 2.0 Publication


We eventually asked Derek Holzer because of his work with tonewheels, but it was not logistically possible to facilitate this type of performance.
└ 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


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


These signs, or 'neumens', were written down, modified or not, first without any reference line.
└ from 11 — Para-phonic Poly-disco


This was not about hard comparisons and one-to-one projection, but more to interpret, think and work with elements.
└ from 13 — Remco van Bladel


By this he does not mean the aestheticised, satisfying disturbances and cracking that Kim Cascone valorises, but the lack of satisfaction caused by a misplaced or misdirected procedure in the experiment, colossal or banal.
└ from 14 — Derek Holzer


These are not mistakes that should be looked up, sampled and celebrated, but the flat-on-your-ass gaffs and embarrassment that would disturb the sleep of all but the most Zen of musicians or composers.
└ from 14 — Derek Holzer


These signs, or 'neumens', were written down, modified or not, first without any reference line.
└ from 18 — Dirigeerstok


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


But how can we score something not present, yet also not absent?
└ from 23 — Silence


These webs then become a game of Cat's Cradle of sorts between the spider and I, not quite a collaboration but rather more of an exercise in ongoingness and recognition of loss.
└ from 26 — Helga Jakobson


The intact web will not exist long in the world, and with my interference even less so.
└ 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


They aren’t entirely in line with Darwinian structures after all, not serving a solely evolutionary purpose; unlikely structures vulnerable and more powerful in space and time.
└ from 26 — Helga Jakobson


For the record I used recordings from the iron ore processing plant in Kirkenes, both with the plant working and not working.
└ from 27 — BJ Nilsen


It's not iron ore but lignite, 'braunkohle'.
└ from 27 — BJ Nilsen


It's not like wind or the sun, which give you immediate energy.
└ 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


In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it .
└ from 27 — BJ Nilsen


When the mill was in full operation the only time when we woke up in the night was when the train was not going.
└ from 27 — BJ Nilsen


We were living quite close to the railway, so when the train did not run we knew instantaneously that something had happened, either in the mine or in the mill.
└ from 27 — BJ Nilsen


The sounds of nature are not often interrupted by other sounds.
└ from 27 — BJ Nilsen


The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you.
└ from 27 — BJ Nilsen


If it goes on like it goes now, the ice will open up and it will not be so desolate anymore.
└ from 27 — BJ Nilsen


This not only counts for publishing but also for exploring new possibilities for artist practice in general.
└ from 30 — Black Midi


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


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


The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air.
└ from 31 — Marco Fusinato


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