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Sentences that have them in common :


Just so you can see them day and night, for roughly three weeks long.
└ 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


Justin Bennet showed his project 'Shot Gun Architecture', and Remco van Bladel introduced our project 'Pushing Scores' by doing a reading about historical and contemporary graphic scores and the concepts behind them.
└ from 04 — Noting Denoting


These artists don’t shy away from the big questions revolving around the place and role of the artist in society and the world around them.
└ from 05 — Wiels Artbook Fair


Colson then asked some artist to make reinterpretations of the works and from here the idea to use them as a music score originated.
└ from 06 — Principium 2.0 Publication


The idea was to put white magnets atop of the coloured dots as a way to blank them out.
└ from 06 — Principium 2.0 Publication


What he did was draw a bunch of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with stickers with tiny line segments drawn on them.
└ from 06 — Principium 2.0 Publication


The idea was to put white magnets on top of the coloured dots to blank them out, so you end up with something analogous to taking a sticker off the sheet – a white space in a field of colour.
└ 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


But to be honest I've never even considered that – eight hours of material and endless editing possibilities, that's a nightmare.., The decision to have straight up documentation, just select bits instead of editing them some more, really made the selection process easier.
└ from 06 — Principium 2.0 Publication


That's also purely pragmatic: Now they've all been sold, it's going to be very difficult to get all twelve of them together again for a second performance.
└ from 06 — Principium 2.0 Publication


We worked on the packaging together, and it looks amazing because of them.
└ from 06 — Principium 2.0 Publication


But I did try to select bits that I thought had a beauty or a strong appeal to them, an interesting evolution or whatever, so much so that I hope they can survive as musical pieces in their own right.
└ from 06 — Principium 2.0 Publication


The software they write enables them to compose ever-evolving audiovisual worlds.
└ from 07 — Pu-sh-ing-Sco-res Event


The software they write enables them to compose ever-evolving audiovisual worlds.
└ from 07 — Pu-sh-ing-Sco-res Event


Afterwards, she mixes them together for yielding imprudently driving, rhythmic soundscapes followed by white noise and multiple fragments of music along with dirty boom beats.
└ from 07 — Pu-sh-ing-Sco-res Event


The subjective nature, the way in which vibrations can release such strong emotions, makes it possible to deal speculatively and to use them for use in typography, image, material choices, folding methods and bookbinding systems.
└ from 13 — Remco van Bladel


Vector graphics were widely adopted by video game manufacturers in the late 1970s due to their computational efficiency, and the wealth of experience using them that the history of analogue computing provided.
└ from 16 — Tektronix Oscilloscope Music


remain largely unchanged since the dawn of the Vectorian Era indicates to me that seeking to satisfy them with technology alone is quite problematic.
└ from 16 — Tektronix Oscilloscope Music


Of specific inspiration is the fact that his works are composed of simple instructions and can be performed by anybody, giving them a highly democratic factor without losing their artistic impact.
└ from 17 — Event Scores


These spiders have laid out scores in the form of webs that are barely visible ephemera drifting between branches or street signs or windows and I long to understand them.
└ from 26 — Helga Jakobson


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


The process of finding them could be likened to trying to make the invisible visible.
└ from 26 — Helga Jakobson


What is the relationship between the sounds of mining and the community that surrounds them?
└ 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


Throughout the landscape there are sacred stones that are very important to them.
└ from 27 — BJ Nilsen


We took samples and ran them through the laboratory in order to identify how many tons of final concentrate we would be able to get out of the slambanken.
└ from 27 — BJ Nilsen


The people in the Arctic have a lot of respect for nature, it forms them .
└ from 27 — BJ Nilsen


It gives them an image, a bit similar to sonar.
└ from 27 — BJ Nilsen


We already knew some of its members and thought it would be nice and effective to approach them with a question of doing something with the archive of 'Pushing Scores'.
└ from 29 — Niek Hilkmann


Some of them, like Jason, record the MIDI files at a slow tempo and then speed up the footage in video editing to avoid RAM and processing issues.
└ from 30 — Black Midi


In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration.
└ from 31 — Marco Fusinato


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