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Sentences that have you in common :


Just so you can see them day and night, for roughly three weeks long.
└ from 01 — Pushing Scores Overview


Fri 22 Jun 2018 20:30 @ DE PLAYER, Rotterdam 'E-ARTHHA' WITH DOUGLAS KAHN, BJ NILSEN, AURÉLIE LIERMAN AND MAX FRANKLIN As you may well know, there are those evenings after which the sun rises differently.
└ from 01 — Pushing Scores Overview


Encased within a concrete body, an internal stand-alone WiFi station enables you to get in touch with the content of this floppy magazine.
└ from 02 — Release - Tetra Gamma Circulaire 3


Because his work is pretty conceptual, you could say that there is always a strategy (call it a score) that operates as a framework underpinning his artistic output.
└ from 05 — Wiels Artbook Fair


He drew a number of random lines across the sticker sheets, and since there are eight by twelve stickers on a sheet you end up with tiny line segments marking each of the stickers.
└ from 06 — Principium 2.0 Publication


As mentioned, this is the short version, can you give me the full story?
└ from 06 — Principium 2.0 Publication


He made these beautiful pieces where he used tiny paper sticker dots, you know the ones that most art galleries use to denote which works in a show have been sold?
└ 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


It's all pretty nonsensical in a way I guess, especially if you try to put something like that into words, but it’s also really beautiful, and quite fragile.
└ from 06 — Principium 2.0 Publication


And at a certain point he posed something like: 'I've made some work that might be interesting to use as a score, would you be up for it?
└ 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


And I never gave it that much thought, but the fact that when you stick magnets somewhere it makes a musical phrase, well, I guess to some people that would be wizardry, hah.
└ 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


For example, there's this box set which has records that have built-in radio transmitters, records with impossible shapes where you need to turn the stylus of your record player upside down.
└ from 06 — Principium 2.0 Publication


If we just used test tones, so to speak, you end up with something close to Morse code.
└ from 06 — Principium 2.0 Publication


DE PLAYER: Is this LP the final version of this project, or do you see it evolving into future iterations?
└ from 06 — Principium 2.0 Publication


DE PLAYER: Dennis said you were not really keen on doing this record at first.
└ 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


I guess my main fear was that by cutting chunks out of a much larger whole, you risk losing the context – and I'm still not sure what this record sounds like to people that weren't there.
└ from 06 — Principium 2.0 Publication


How do you do that?
└ from 06 — Principium 2.0 Publication


How do you decide which parts 'work' on an album, and which don't?
└ from 06 — Principium 2.0 Publication


So you end up with a first rough selection.
└ from 06 — Principium 2.0 Publication


And then you go through that selection again.
└ from 06 — Principium 2.0 Publication


And so on, until you really narrow it down.
└ from 06 — Principium 2.0 Publication


DE PLAYER: Do you think that, by bringing it back to an LP, you're making it easier for the listener?
└ from 06 — Principium 2.0 Publication


Do you think that listening to an eight-hour performance demands another kind of concentration from the listener than listening to an LP?
└ from 06 — Principium 2.0 Publication


It was continually shifting, so it didn't really have a beginning or an end – you could drop in any time you liked.
└ 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


What you think about this statement?
└ from 06 — Principium 2.0 Publication


How do you perceive the function a piece of vinyl can have?
└ 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


DE PLAYER: You release this album as a Remörk album, but there were more people involved in this project than just you.
└ from 06 — Principium 2.0 Publication


So do you see this album as a solo record or as a collaboration?
└ from 06 — Principium 2.0 Publication


If you stick to the concept, you miss out on the creative aspect, which should be the most important part.
└ from 06 — Principium 2.0 Publication


Otherwise you're not an artist.
└ from 06 — Principium 2.0 Publication


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


And how would you relate this quote to your LP?
└ from 06 — Principium 2.0 Publication


But then, I don’t fully agree that you miss out on creativity by sticking to a concept.
└ from 06 — Principium 2.0 Publication


And sometimes, by sticking to it, you end up with the most unexpected results – adhering to rules you impose on yourself makes you do stuff you would never have decided for yourself.
└ from 06 — Principium 2.0 Publication


It can make you go against your natural inclinations, which does not always have to be a bad thing.
└ from 06 — Principium 2.0 Publication


It can free you from repeating yourself, from your own mannerisms.
└ from 06 — Principium 2.0 Publication


Does it feel like that for you too: As your first 'real' album, as a statement?
└ from 06 — Principium 2.0 Publication


DE PLAYER: Do you see this as a drone record?
└ from 06 — Principium 2.0 Publication


Kris Delacourt: If you force me to choose between those two, then drone.
└ from 06 — Principium 2.0 Publication


So this is very much a straightforward live recording of a pretty weird DJ set, if you will.
└ from 06 — Principium 2.0 Publication


DE PLAYER: Do you think this LP would also be enjoyable if someone would listen to it without knowing a single thing about the whole concept behind it?
└ from 06 — Principium 2.0 Publication


Or perhaps you would perceive it as a failure if it weren't enjoyable without the concept?
└ from 06 — Principium 2.0 Publication


As you turn the thick pages of the book, you encounter a different pattern along with a different soundtrack.
└ from 07 — Pu-sh-ing-Sco-res Event


HIELE MARTENS (BE) Sometimes 1 + 1 is greater than the sum of its parts, but if you put two of Belgium's finest composers and musicians together, it adds up to an infinite number.
└ 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


A mobile website that connects you to the hardware inside the cabinet and turns your phone into a local speaker for a polyphonic voice piece.
└ from 11 — Para-phonic Poly-disco


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


I made field recordings in the winter; you hear ice crystals cracking because there was a layer of ice on the snow.
└ from 27 — BJ Nilsen


One is the waste you make to get to the ore.
└ from 27 — BJ Nilsen


If you have a gold mine and the gold layer sits fifty metres below surface, you have to remove fifty metres of waste.
└ from 27 — BJ Nilsen


The ore layer contains only a certain amount of the mineral that will bring you revenue.
└ from 27 — BJ Nilsen


The ore goes to a processing plant and there you take out the tailings and the rest is the waste of your process.
└ from 27 — BJ Nilsen


It can be a slurry, it may contain chemicals or poisonous materials so you have to contain it and treat and store it properly.
└ from 27 — BJ Nilsen


It's absurd when you start to think about it.
└ from 27 — BJ Nilsen


It's not like wind or the sun, which give you immediate energy.
└ from 27 — BJ Nilsen


It is a playground for sedimentologists because you can see how land and deltas form.
└ from 27 — BJ Nilsen


In a sense, you cannot not bring out those relations: How a society depends on mining and how it affects it .
└ from 27 — BJ Nilsen


The relentless nature in the Arctic constantly reminds you that you are a human being and that you are not really supposed to be there because the harshness of the environment might kill you.
└ from 27 — BJ Nilsen


You can only survive there if you work with nature.
└ from 27 — BJ Nilsen


If you work against it, it will kill you.
└ from 27 — BJ Nilsen


By physically interacting with the stone you can determine what material it is.
└ from 27 — BJ Nilsen


It’s mostly really low sounds that you have to transpose up three times to get within human hearing range.
└ from 27 — BJ Nilsen


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G e n e r a t e s c o r e !