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This project, which focuses on what we have come to refer to as the ‘graphic score’, has been running over the last two to three years.
└ from 01 — Pushing Scores Overview

His websites attract a large audience of over forty million unique visits per year.
└ from 04 — Noting Denoting

The only thing I had any control over was where to put the magnets, which determines the rhythm.
└ from 06 — Principium 2.0 Publication

DE PLAYER: Weren't you afraid at some point that this whole idea would grow over your head, that it would become too complicated, too smart, too conceptual?
└ 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

The reading begins by noting that over the past few years a strong reaction against the sterile world of laptop sound and video has inspired a new interest in analogue processes, or 'hands dirty' art, in the words of practitioner John Richards.
└ from 07 — Pu-sh-ing-Sco-res Event

Instead, he came over to do a reading from his text 'Schematic as a Score' and did a live set of Tektronix Oscilloscope Music.
└ from 07 — Pu-sh-ing-Sco-res Event

Piet Zwart Institute > TGC#3, Seminar + Live Event: Together with the team of the Experimental Publishing course at the Piet Zwart Institute, a seminar was organised for the students over a period of three months during which the principles of 'Pushing Scores' took the lead.
└ from 09 — MAT>NET>PU TGC3 Presentation

Transparent tonewheels with repeating patterns are spun over light-sensitive electronic circuitry to produce sound and light pulsations and textures.
└ from 14 — Derek Holzer

The fact that the work is purely language-based also hones in on our interest, as DE PLAYER has been publishing and presenting a lot of sound poetry over the years.
└ from 17 — Event Scores

The vinyls were purchased in Angola, Portugal and Canada from the 60s to the early 80s and have travelled over three continents.
└ from 25 — Ana Guedes

To find them I searched through basements, and bars, and zoos, and homes, and parks; though I found the majority of them in a greenhouse where I teetered over cacti and lavender bushes to collect them.
└ from 26 — Helga Jakobson

This project, named 'Arachnes Sonifier', became more and more developed over time and we will soon publish an album (DOB094) including the sound, images and conceptual information on our label.
└ from 26 — Helga Jakobson

From the 'Dark Ecology' project of Sonic Acts, Amsterdam, BJ Nilsen has visited many mines and mining areas over time.
└ from 27 — BJ Nilsen

I also went to Näätämö/Neiden and just over the border to Finland because it’s land of the Sámi, and I wanted to have that in.
└ from 27 — BJ Nilsen

It was uploaded to the site ‘Nico Nico Douga’ in 2009, and public awareness of black MIDI started to spread from Japan to China and Korea over the following two years.
└ from 30 — Black Midi

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