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Sentences that have one in common :


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


All these scores then had to come together in one magazine/object.
└ from 02 — Release - Tetra Gamma Circulaire 3


Principium 2.0 release - Remörk (Kris Delacourt), DE PLAYER This release has a shifting one-note drone (I believe I used D, F#, A, G#) that gets turned on and off by a magnetic sensor.
└ from 06 — Principium 2.0 Publication


Together, all twelve records form the complete set, which one 'game' requires.
└ from 06 — Principium 2.0 Publication


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


Short version: First it was a one octave Casio keyboard, then it became twelve 10" records, then it became an eight hour performance and eventually now a 12" LP.
└ from 06 — Principium 2.0 Publication


In this way you would end up with all different records, each one an original.
└ from 06 — Principium 2.0 Publication


Just recording the Casio would definitely have been one of the safer, more boring options.
└ from 06 — Principium 2.0 Publication


And since all the records have different lengths, it ended up being one long shifting overlapping piece.
└ 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


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


The improvisation might be one of the major flaws, actually, conceptually speaking.
└ from 06 — Principium 2.0 Publication


But they do form one big piece, and as far as final forms go, I guess you could consider the performance to be the final form of that particular piece.
└ from 06 — Principium 2.0 Publication


It really was a one-time event, with the vinyls functioning as a tool, yes.
└ 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


I tend to associate collage records with cut and paste editing, jumpcuts, going from one atmosphere to the next in no time.
└ from 06 — Principium 2.0 Publication


Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War.
└ 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


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


Most projects are aimed at interaction with an audience (of one or more people).
└ from 09 — MAT>NET>PU TGC3 Presentation


In the eleventh century, the Italian Guido of Arezzo, one of the most important founders of musical notation, developed a scale consisting of six notes: ut, re, mi, fa, sol, la.
└ from 11 — Para-phonic Poly-disco


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


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


Analogue electronic computers pre-date their digital counterparts by several decades, and one of the first practical applications of the analogue computer was in controlling the trajectories of German V2 rockets as they traced their rainbow of gravity from Flanders towards London during the Second World War.
└ from 16 — Tektronix Oscilloscope Music


Jörg Piringer has contributed to Each One, a 10" vinyl dubplate, each one with original sound and related artwork, edition of forty pieces.
└ from 19 — Jörg Piringer


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


Following this, we also produced a record with him, which contains one piece of his named 'Product Placements'.
└ from 24 — Johannes Kreidler


In a thirty-three second piece of music, he processed 70,200 quotes of foreign works, proceeding to individually enrolled each one at the GEMA.
└ from 24 — Johannes Kreidler


Arachne, a disturber of the status quo, is thought of as one of the first feminist authors.
└ 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


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


The north of Norway is one of the oldest rock formations in the world.
└ from 27 — BJ Nilsen


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


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


This one is a pretty contemporary example and results in great imagery and sound.
└ from 30 — Black Midi


In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon.
└ from 31 — Marco Fusinato


Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point.
└ from 31 — Marco Fusinato


Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion.
└ 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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