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Thu 17 Mar 2016 19:00 @ Witte de With, Rotterdam 'TUNING – DETUNING/NOTING – DENOTING' WITH YANN GOURDON, RAFAËL ROZENDAAL, FLORIS VAN HOOF, JUSTIN BENNETT, REMCO VAN BLADEL AND OTHERS Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition 'GesammttkkunnsttMeshuggahhLaandtttt' at Witte de With Center for Contempory Art, Rotterdam.
└ from 01 — Pushing Scores Overview


Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?
└ from 01 — Pushing Scores Overview


The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies.
└ from 01 — Pushing Scores Overview


DE PLAYER – a production platform specialising in the relationship between sound, art, publishing and performance – presents works by artists within the frame of the project 'Pushing Scores', a project by DE PLAYER and Dutch graphic designer Remco van Bladel.
└ from 01 — Pushing Scores Overview


Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' and a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records.
└ from 01 — Pushing Scores Overview


The 'E-ARTHHA' event is about the search for new interfaces and possibilities for sound composition, image and performance.
└ from 01 — Pushing Scores Overview


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


This continues to question the representation of sound in media to this day.
└ from 01 — Pushing Scores Overview


It will seek concepts and configurations that produce new, previously unknown, relationships in the field of sound, visual arts and performance.
└ from 01 — Pushing Scores Overview


Pushing Scores' is a project researching graphic notation, based on a desire to update this form of music and sound notation for the twenty-first century.
└ from 01 — Pushing Scores Overview


Starting from the motto ‘From Cage to JODI and beyond’, and from the avant-garde music and sound art of the twentieth century, the project researches new audio-visual languages, media and functions of graphic notation in a contemporary context characterised by a fundamental transformation of sound culture and visual culture.
└ from 01 — Pushing Scores Overview


Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation.
└ from 01 — Pushing Scores Overview


The incentive for this project is the belief that graphic notation in twentieth-century avant-garde music and sound art constitutes an important, still radically innovative but wrongfully marginalised form, which can play a key role in the development of new audiovisual languages and media.
└ from 01 — Pushing Scores Overview


Can the 'detuning' of music generate new ways of thinking about the relation between sound and scripture?
└ from 04 — Noting Denoting


The notation of sound has a long and varied history, from Gregorian chants conducted following signs written in the air, to the standard notation of the Western music we know today and the possibilities offered by new computer technologies.
└ from 04 — Noting Denoting


Moving back and forth between sound and scripture, this evening consists of experimental performances and short lectures, with a special focus on the visual sound renderings Charlemagne Palestine included in his exhibition ‘GesammttkkunnsttMeshuggahhLaandtttt’ at Witte de With Center for Contempory Art, Rotterdam.
└ from 04 — Noting Denoting


Contributors: YANN GOURDON (FR) Hurdy-gurdy player, composer and sound artist Yann Gourdon looks at vibratory fields and sound perception as a medium.
└ from 04 — Noting Denoting


Every aspect of his work deals with the quality of sound.
└ from 04 — Noting Denoting


JUSTIN BENNETT (UK) Justin Bennett is an artist working with sound and visual media.
└ from 04 — Noting Denoting


At every level of detail, the everyday sound of our urban surroundings is the focus of his work.
└ from 04 — Noting Denoting


Within it, he develops the reciprocity of music and architecture, and of sound and image.
└ from 04 — Noting Denoting


The copy machine was amplified by several internal microphones, through which the sound of every print run was recorded.
└ from 05 — Wiels Artbook Fair


We had previously worked with Kris Delacourt on 'Principium 2.0', which is a reinterpretation of Colson’s work 'Principium', and so it was a natural progression that we then asked Colson to work on a sound publication with us.
└ from 05 — Wiels Artbook Fair


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


Does this sound recognisable to you?
└ from 06 — Principium 2.0 Publication


The only things remotely close to jumpcuts that are on this record were due to the electronics of the installation, the sensors turning the sound on and off.
└ from 06 — Principium 2.0 Publication


Focusing on the potential of graphic scores and the publishing of sound and image, we present Telcosystems alongside their recent publication 'Resonanz', a reading from 'Schematic as a Score' as well as a concert by Derek Holzer and a live performance by Julia Bünnagel with modified records.
└ from 07 — Pu-sh-ing-Sco-res Event


Based on our compilation of the most contemporary and innovative graphic notation practices in the fields of music, sound art, performance art, e-culture, new-media art, graphic design and media design, we will introduce artists and designers from various creative disciplines to a national and international audience, with the goal of collectively developing new forms of graphic notation.
└ from 07 — Pu-sh-ing-Sco-res Event


TELCOSYSTEMS (NL) Telcosystems presents 'Resonanz', an electronic book combining a series of visual artworks and a sound publication.
└ from 07 — Pu-sh-ing-Sco-res Event


With 'Resonanz', Telcosystems presents an electronic book that combines a series of visual artworks and a sound publication.
└ from 07 — Pu-sh-ing-Sco-res Event


I turned and turned the pages, each time trying to think about the possible connections between the colours and patterns printed on the pages and the sound they emitted.
└ from 07 — Pu-sh-ing-Sco-res Event


— Régine Debatty JULIA BÜNNAGEL (DE) Julia Bünnagel is a contemporary sound and sculpture artist based in Cologne.
└ from 07 — Pu-sh-ing-Sco-res Event


She is part of the sound art collective Sculptress of Sound.
└ from 07 — Pu-sh-ing-Sco-res Event


DEREK HOLZER (US) Derek Holzer is an American instrument builder and sound artist based in Helsinki and Berlin, whose current interests include DIY analogue electronics, the relationship between sound and space, media archaeology and the meeting points of electroacoustic, noise, improvisation and extreme music.
└ from 07 — Pu-sh-ing-Sco-res Event


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


They approach DE PLAYER for some input surrounding the production and distribution of it, and because of the direct relation between sound and image, and the new interface an object like that represents, it was a clear match of interests.
└ from 07 — Pu-sh-ing-Sco-res Event


The defective record, as opposed the standardised smooth reproduction of sound, means quality and concept at the same time.
└ from 07 — Pu-sh-ing-Sco-res Event


As a production platform, specialised in the relationship between sound, art, publishing and performance, DE PLAYER presents works by artists within the frame of the project 'Pushing Scores' – an ongoing project by DE PLAYER and Dutch graphic designer Remco van Bladel.
└ from 08 — Art Rotterdam Presentation


JOHANNES BERGMARK (SE) Johannes Bergmark is a Fylkingen-affiliated sound artist, instrument builder and piano technician.
└ from 09 — MAT>NET>PU TGC3 Presentation


Bergmark is the ultimate rethinker of what music can be, in sound and in performance, evidenced by the fact that you can sometimes find him hanging on two piano strings from a ceiling.
└ from 09 — MAT>NET>PU TGC3 Presentation


Valentina Vuksic will also bring a live performance in which she approaches computers with transducers that transform electromagnetic radiation into sound within choreographed setups.
└ from 10 — Valentina Vuksic


She played a set in which she used her computer to generate sound by live programming.
└ from 10 — Valentina Vuksic


The ARTKILLART label has operated from both Paris and Berlin since 2007, promoting experimental audiovisual and sound art.
└ from 10 — Valentina Vuksic


The second phase is important to the perspective of sound reproduction, graphic score and the tangibility of sound and/or the object.
└ from 12 — Jacques Attali


This notation of music can be considered as a highly coded written guideline for how music should sound.
└ from 12 — Jacques Attali


With the rise of the various avant-garde movements from the beginning of the twentieth century, in addition to new forms of 'sound', the relationship between sound and its visual representation is also being re-examined here.
└ from 12 — Jacques Attali


The relation between the sound on the records and the visuals on the sleeves and packaging has a strong influence on his current practice, especially in relation to the strategy and concepts he creates for graphic design.
└ from 13 — Remco van Bladel


The most important, from his youth, is sound or music.
└ from 13 — Remco van Bladel


Sound in relation to image remains an elusive phenomenon that continues to fascinate him because sound/music is the most abstract art form.
└ from 13 — Remco van Bladel


This tactility, the application of materiality and the use of printing techniques as a metaphor for sound play a major role in his entire practice.
└ from 13 — Remco van Bladel


We became familiar with the work of Derek Holzer through his project on tonewheels – an experiment in converting graphical imagery to sound, inspired by some of the pioneering twentieth century electronic music inventions.
└ from 14 — Derek Holzer


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


This analogue way of generating sound from graphic notation was an impulse to check him out for the 'Pushing Scores' project.
└ from 14 — Derek Holzer


Derek Holzer (US, 1972) is a sound and light artist based in Helsinki and Berlin, whose current interests include DIY electronics, audiovisual instrument building, the relationship between sound and space, media archaeology and participatory art forms.
└ from 14 — Derek Holzer


Over the past few years there has been a strong response to the sterile world of sound and video from the laptop.
└ from 14 — Derek Holzer


Over the past few years there has been a strong response to the sterile world of sound and video from the laptop.
└ from 15 — Schematic as Design


VECTOR SYNTHESIS' WORKSHOP WITH DEREK HOLZER AT PIKSEL 9–11 Mar 2018 @ Piksel Studio 207, Bergen 'VECTOR SYNTHESIS' is an audiovisual, computational art project using sound synthesis and vector graphics display techniques to investigate the direct relationship between sound and image.
└ from 16 — Tektronix Oscilloscope Music


Audio waveforms control the vertical and horizontal movements as well as the brightness of a single beam of light, tracing shapes, points and curves with a direct relationship between sound and image.
└ from 16 — Tektronix Oscilloscope Music


Then each driver, with a shuffled deck of instructions, would begin performing at the sound of a signal.
└ from 17 — Event Scores


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


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


Jörg Piringer (AT) is a member of the Institute for Trans-acoustic Research, member of the Vegetable Orchestra, radio artist, sound poet, visual poet and musician, and holds a Master's degree in Computer Science.
└ from 19 — Jörg Piringer


For example, his work 'frakativ' is an electronic visual sound poetry performance.
└ from 19 — Jörg Piringer


The performance 'frikativ' is real-time generated visual and sound poetry.
└ from 19 — Jörg Piringer


Image and sound are created immediately during the performance by speaking and vocalising into a microphone and modifying the voice through signal processors and samplers while the software is analysing the sound to create animated abstract visual text-compositions.
└ from 19 — Jörg Piringer


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


Jörg Piringer has performed his visual sound poetry pieces, based on computer programming, at DE PLAYER in the past.
└ 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


This idea is closely intertwined with the project 'Pushing Scores', in which the materialisation of sound plays a role.
└ from 20 — Concrete Poetry


We investigate how contemporary means are used to shape language, sign and sound.
└ from 20 — Concrete Poetry


Inspiration comes in the form of vocal poetry, 'poésie sonore' and text-sound composition.
└ from 20 — Concrete Poetry


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


The connection between the word and sound can be found in many ways in the art and music of the Fluxus movement, rap, the early avant-garde, soundproofing, laut poetry, musical theater, opera, performative series, radio plays and installation settings.
└ from 20 — Concrete Poetry


Gunnarsson's musical style combines sound patterns without using a rigid rhythmic grid structure or pulse.
└ from 21 — Animated Notation


She works with sound, video, installation and performance.
└ from 25 — Ana Guedes


Her project 'UNTITLED RECORDS' is a performative sound installation that interweaves historical and emotional narratives through the 'instrumentalisation' of a collection of vinyl records.
└ from 25 — Ana Guedes


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


Her spider web record player, which she developed for this purpose, is an instrument that plays, registers and converts a spider web into sound by means of light sensors.
└ from 26 — Helga Jakobson


This strange, affective relay continues into the recording process, which results in the interpreted sound of an interpreted web.
└ from 26 — Helga Jakobson


Bas encouraged her to contact DE PLAYER as she was occupied with developing a machine that produces sound through the process of reading spider webs.
└ from 26 — Helga Jakobson


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


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


In addition, it places itself in the tradition of electro acoustic music and 'musique concrète' – a French music movement that makes use of everyday sounds that are processed with the help of electronics into compositions and sound collages.
└ from 27 — BJ Nilsen


As a sound artist he realised how much sound there is in the mining industry and began to think in sonic terms about its impact and meaning.
└ from 27 — BJ Nilsen


Over the years he has built up an extensive sound archive around this subject.
└ from 27 — BJ Nilsen


In the final processing of the sound, he uses the facets of mining as different sound tracks.
└ from 27 — BJ Nilsen


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


In this way, the work creates a third space that belongs to the individual listener and that arises from the interaction between the original space and the imaginary space, created by the composition, the sound processing and the perception of the listener.
└ from 27 — BJ Nilsen


He is known primarily for his writings on the use of sound in the avant-garde and experimental arts and music, and history and theory of the media arts.
└ from 27 — BJ Nilsen


His writings have also been influential in the scholarly area of sound studies and the practical area of sound art.
└ from 27 — BJ Nilsen


Currently, Kahn is researching new interfaces and possibilities of sound composition, image and performance.
└ from 27 — BJ Nilsen


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


You hear the room tones, pigeons flying around, doors flapping and the sound of the town blending in.
└ 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


But the chronology is interrupted a couple of times, and the different time planes are cut-up; they interact and overlap, because I mix sound recordings that were done at different times.
└ from 27 — BJ Nilsen


The work creates a third space that belongs to the individual listener and which arises from the interaction between the original space and imaginary space, created through the composition and sound processing… We dig deep into the earth to get to layers of deep time, extract it and use the ancient material, in the case of coal, for electricity, for heating the house, commodities, to type a message on a phone.
└ from 27 — BJ Nilsen


The sound of the mine was always present.
└ from 27 — BJ Nilsen


I am drawn to the Arctic as a sound person because of its relative remoteness.
└ from 27 — BJ Nilsen


In practice it's quite mathematical, but it still it is part of the sound world too.
└ from 27 — BJ Nilsen


It’s a kind of sound alchemy.
└ from 27 — BJ Nilsen


The fact that the sound on the record is an ever-changing piece – because of the psycho acoustic effects – transposes it more into a tool than a static recording.
└ from 28 — John Duncan


He is currently a sound designer at the Art Academy of Bologna, Italy.
└ from 28 — John Duncan


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


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


Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato) Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands.
└ from 31 — Marco Fusinato


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


A huge public announcement system was in the office blazing loud, but very articulated sound.
└ from 31 — Marco Fusinato


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