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In his lecture, Douglas Kahn discards old categories of sound and performance and replaces them with a new category of ‘energy’, which operates within the bigger narratives of ecology and other sensitivities.
└ from 01 — Pushing Scores Overview


Hailing from other biotopes, our accompanying guests will all take different points of departure for their performances.
└ from 01 — Pushing Scores Overview


This can be a performance, an object, a book or whatever other form he settles on.
└ from 05 — Wiels Artbook Fair


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


So we discussed other possibilities, like capturing a live performance, or possibly even cutting records on the fly with his vinyl lathe.
└ from 06 — Principium 2.0 Publication


That same ten-minute piece was then sped up for the other notes, going up in pitch and becoming shorter for each record.
└ from 06 — Principium 2.0 Publication


In other words, this means that reproduction (repetitions of already existing relations) without richer viewpoints from the special standpoint of creative production can, only in the best cases, be considered as a virtuosic opportunity.
└ from 07 — Pu-sh-ing-Sco-res Event


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


They then explored Lissajous figures, waveform representations and other multiplexed, audio-driven visual shapes and forms which can be displayed and manipulated in real-time on an XY oscilloscope, Vectrex game console, ILDA laser display and other analogue vector displays, or with oscilloscope emulating software directly on a laptop.
└ from 16 — Tektronix Oscilloscope Music


Battle Zone' (1980), 'Tempest' (1981), and 'Star Wars' (1983) all stand as other notable examples from this Vectorian Era, and also as rudimentary training tools for the future e-warriors who would remotely guide missiles into Iraqi bunkers at the start of the next decade.
└ from 16 — Tektronix Oscilloscope Music


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


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


Music and dance are complimentary to the context of being together without literally understanding each other word for word.
└ from 20 — Concrete Poetry


a tape recorder or telephone), but also self-invented technical devices and software as well as other machines (e.g.
└ from 20 — Concrete Poetry


computers, record players and effect equipment) and a variety of speech techniques, are adopted so that, among other things, classical reading forms are exceeded.
└ from 20 — Concrete Poetry


Is there a positive notation for this critical issue of performance, of silence in the voice, other than merely the courtesies of extended rests, or blanks in the score?
└ from 23 — Silence


Besides the share prices, some other statistics were used, such as the number of American soldiers killed in Iraq.
└ from 24 — Johannes Kreidler


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


We had an appointment and it was immediately clear that this project was of interest to us and we decided to present her prototype at an event in which other inventive ways of sound making were presented.
└ from 26 — Helga Jakobson


He discards old categories of sound and performance and replaces them with a new category of 'energy' in the bigger narrative of ecology and other sensitivities.
└ 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


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


Will it mean that other places will become desolate instead, uninhabitable?
└ from 27 — BJ Nilsen


Each signal was chosen for the resonance it evokes in the listener, later interwoven with other signals recorded from the same source for several days.
└ from 28 — John Duncan


Hackaday's Elliot Williams spotlighted the style as ironic, given that the fast-paced arpeggios and 'splatter-chords', developed with a restricted number of voices, come together to make other tones that lead to a piano sounding more like a chiptune and less like an actual piano.
└ from 30 — Black Midi


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